Naturally, since I am not concerned with normative allegations, I cannot be concerned here with the invocation of the overtone series as a 'natural' phenomenon, and that application of equivocation which then would label as 'un-natural' (in the sense, it would appear, of morally perverse) music which is not 'founded' on it. Now, what music, in what sense, ever had been founded on it?

Quoted in Maus, Fred Everett (2004). "Sexual and Musical Categories", The Pleasure of Modernist Music, p. 158. ISBN 1580461433.